There are a couple of important points about this reference. First, the shots had specific frame counts associated with them. This means that I must fit all actions into that time range. As mentioned in Chapter 8: “Timing,” a stopwatch is an excellent device to help determine your timings. I used the stopwatch during the first few attempts. Second, I shot video for all three shots at the same time. This was necessary to maintain continuity between actions. (I’ll discuss this concept in more detail in a few paragraphs.)

After shooting several minutes of footage, I sat down to analyze the tape. While studying the footage, I made some interesting discoveries. These scenes involve a person who’s exceptionally tired. I shot the reference at a late hour and tried to envision my mindset after a 14-hour stint in front of the computer. I found myself yawning and rubbing my eyes. A few shakes of the head were also necessary to wake up. This took care of the first two shots; getting into the chair was a different story.

I wanted to try something dynamic for the character’s approach and sitting movement. I’d originally thought it would be interesting to have him spin around once before settling in front of the desk. I thought this might play on his young and whimsical nature. It was definitely more interesting than just walking around the chair and plopping down, but didn’t entirely fit the scene. The character is supposed to be at the end of a long day. The amount of energy required to make the spin move just didn’t fit.

[Figure 7] The revised seating scheme.

The solution occurred while the camera was rolling. I’d finished a take or attempt at the scene and was preparing to stand up and try the scene again. I noticed the natural progression was to spin the base halfway around to place me closer to the starting point in the cubicle. I left the chair in this position and attempted another take. The tired state of my body and the inviting seat worked perfectly. I plopped down on the chair and allowed the momentum to spin my body the half turn required to meet the desk. Done. Figure 7 shows the corresponding frames. The next step is to transfer these ideas to paper.

Thumbnails
Thumbnails have been mentioned several times over the course of this text. It’s a popular method among veteran animators and a process that I strongly support. This simple step can save hours of wasted effort. The only requirement is the ability to pick up a pencil and draw, no matter your skill level.

Thumbnails are small drawings that are generated very quickly and serve as a vehicle to experiment with poses and ideas. Depending on the artist’s skills, they can be polished characters, stick figures or scribbles on a page. The level of artistry isn’t important. It’s the visual cue the illustration provides you with. Even if it’s only understood by the artist generating it. Don’t be afraid of putting your ideas on paper. If you understand them, they will be effective.

I began this phase of the planning process after spending time studying the video reference. I have around 10 minutes of footage that needs to be ordered. In addition to experimenting with ideas, the drawings initially serve as an organizational device to assemble the more successful parts of each action being performed.